Jazz Chord/Scale Types – All based on major, melodic minor, whole ...

Tonic
Predominant
Dominant
<strong>Jazz</strong> <strong>Chord</strong>/<strong>Scale</strong> <strong>Types</strong> <strong>–</strong> <strong>All</strong> <strong>based</strong> on major, melodic minor, whole tone, or diminished scales <strong>–</strong> Copyright © 2004 by Mark Feezell. <strong>All</strong> Rights Reserved.
Function Symbol Alternate symbols
I
∆
[Capitalized pitch name], M, Maj, ∆7, ∆9,
∆11, ∆13, Maj7, Maj 9, Maj 11, Maj 13,
Maj 6/9, Ma7, M7, etc.
I (minor) -∆ -(∆7), -9(∆7), -11(∆7), mi(∆7), etc.
II
(in major
mode)
II
(in minor
mode)
-7
IV ∆#4
IV? ∆#5
-, m, min, -6, -9, -11, -13, -6/9, min7, mi7,
etc.
Slash notation?
(if applicable)
m3↑ / root
F/D = D-7
Parent scale/mode Mode names/Usage notes
Major, mode 1 Ionian 4=avoid note
Major Pent., mode 1 Major Pentatonic Can use on M triad (not us. ∆7)
Altered major, mode 1 Major Bebop = Major w/ 5#5 Minor, mode 1
Altered minor, mode 1
Minor-major =asc. melodic minor; No avoid note
Bebop mel. minor = Mel. minor w/ 5#5 Major, mode 2 Dorian
Major Pentatonic, mode 5 Minor Pentatonic e.g. for A-7 can use C pent.
Major, mode 5, w/ 33 Bebop Dorian =Major w/ 33 Major, mode 7
Major, mode 7, w/
Locrian or half-diminished b9=avoid note;
locrian #2 (below) has M9; phrygian has P5
55 Bebop = Locrian w 5 Ø o r
Ø 7
LOCRIAN or Bebop: all have b9(=b2)
-7(b5b9), -11b9b5, mi7b5b9, mi11b5b9
LOCRIAN #2: mi7(b5), mi9(b5), mi11(b5),
-7(b5), -9(b5), -11(b5)
m2↑ / root
F/E = E Ø
Minor, mode 6
5
Half-dim. #2 or Locrian #2
Locrian w/#2, so useful b/c NO avoid note
#4, ∆7#4, ∆7b5, ∆9#4, ∆9b5, ∆6/9#4, 6/9#4,
∆13#4, Ma7#4, Ma7b5, Maj7#4, ∆#11, etc.
M2↑ / root
G/F = F∆#4
Major, mode 4 Lydian
∆9(#5), ∆7(#5), +(∆7), +(∆9), Aug,
Ma7(#5), Ma9(#5)
M3↑ / root
G/Eb = Eb∆#5
Minor, mode 3 Lydian augmented No avoid note
VI -b6 Major, mode 6 Aeolian Often use dorian instead, or sub. V/II
V
Sub. for
V m3↓
7 Dom7, Mm7
Major, mode 5 Mixolydian 4=avoid note
Major Pent., mode 1 Major pentatonic
Altered major, mode 1 Bebop Dominant = Major w/ 7 7
7#5 +7, 7+, +9, 9(#5), Aug Whole tone Whole tone Only 2 transpositions; don’t overuse
7#11 7(b5), 7(#11), 9(b5), 9(#11), 13(#11) Minor, mode 4 Lydian dominant No avoid note
7b9
7alt
13(b5), 7#9, 13(#9), º7b9, -6/9(#11),
mi6/9(#11), mi13(#11), -13(#11)
alt, 7(b9b13), +7(b9), 7(#9b13), 7(b9,b5),
7(#9,b5), 7(#9b9), 7(#11#9), 13(b9b5),
7(#9#5), 7(#11#9), 7+9
7b6 7b6
7sus sus, sus4, sus9, 7sus4, sus2
susb9
º o r
º7
7susb9, sus4b9, 7sus4b9, susb9b6, etc.
For b6, use Phrygian.
For 6, use mode 2 mel. minor.
dim, dim7, º7(#9), º(∆7), dim(∆7), -
9(∆7#11), mi9(∆7#11),
m3↓ / root OR
root / m2↑
E/G = G/Ab = G7b9
A4↑ / root
F#/C = C7alt
Diminished (=octatonic)
Half-Whole; Only 3 total
hw diminished Ex: C-Db-Eb-E-F#-G-A-Bb-C
susb9 ≠ 7b9!
Minor, mode 7 “Altered scale” Ex: C-Db-D#-E-F#-G#-Bb-C
P4↑-∆7 / root
C-∆7/G = G7b6
Minor, mode 5 Aebersold’s “Hindu” scale <strong>–</strong> NOTE: 7b6 ≠ 7#5!
Major, mode 5 Mixolydian No avoid note
Major Pent., mode 2
Major pentatonic M2 lower
e.g. for Dsus7 can use C pentatonic
m2↑ / root
Major, mode 3 Phrygian R.H. EFABD (12457); susb9 ≠ 7b9!
F/E = Esusb9 Minor, mode 2 Mode 2, minor =Phryg. with raised 6; susb9≠ b9!
m2↓ / root
C#/D = Dº7
Diminished (=octatonic),
Whole-half; Only 3 total
wh diminished
Ex: C-D-Eb-F-F#-G#-A-B-C; Only 3 total
Substitute for V chord m3↓

Notes:
• This chart tells you what scales/modes will most commonly be played over a given chord symbol. For example, the most common scale
played over a 7 chord (Mm7) is a mode built on the fifth step of the major scale. So, G7 usually uses the notes GABCDEFG, since G is the
fifth step of the C major scale (major, mode 5). Think SCALE or scale/chord more than chord.
• Major, mode 7 means a major scale pattern beginning on the 7 th scale degree (e.g. BCDEFGAB). Minor, mode 2 means a melodic minor scale
pattern beginning on the 2 nd scale degree (e.g. DEbFGABCD = 2 nd mode, C harmonic minor).
• Minor uses the pitches of the ascending melodic minor form going up AND down. The descending melodic minor from classical music is the
same as Aeolian for this chart.
• Variant scale possibilities for each chord symbol are listed from the most common to most unusual for each chord symbol.
• In this chart, slash chords are always Major chord/Bass Pitch, e.g. F/D means an F major chord over a D in the bass
• “Avoid notes” are strong dissonances that must be used with care.
• “Function” is the local harmonic function: a local II, a local IV, a local V, or a local I (Major or minor). <strong>Chord</strong> quality is not distinguished by
upper or lower case roman numerals.
• The blues scale for the appropriate key can be used on Maj, 7, -, -7, or anywhere else it sounds good.
• Usually, #4=b5=#11=b12; #9=b2; #5=#12=b6=b13; 7 th chord=9 th chord=11 th chord=13 th chord. One exception is 7b6 ≠ 7#5.
• ALT chord/scale: Called “Altered scale” or “diminished whole-tone scale” b/c first part is h-w-h-w and last part is w-w-w . Has every
possible alteration of a V7: b9, #9, b5 (=#4), #5 (=b13). The other notes, 1, 3, and 7, are necessary for a dom.7. Ex: C-Db-D#-E-F#-G#-Bb-C